by Madison Smartt Bell ‧ RELEASE DATE: Oct. 1, 2000
A most impressive fusion of history and fiction, and easily the finest work of this still-young writer’s splendid career.
A magnum opus in the making continues with this second in a trilogy (after All Souls’ Rising, 1995) portraying the late–18th-century Haitian Revolution.
This huge middle volume concentrates on the years 1794–1801, though its narrative is framed by scenes in which “liberator” Toussaint L’Ouverture, later (1802) imprisoned in France, writes his “memoir” and looks back on his years of struggle. Bell offers masterfully detailed accounts of Toussaint’s shifting allegiances (once an ally of Spain, he has since declared himself a French “Republican” inspired by that country’s Revolution) and campaigns against British occupying troops, native rebels, and French aristocratic slave-owners. The figure of the liberator is most clearly shown in the image of him held by those he commands, encounters, or engages in battle—including his conflicted subordinates Riau and Maillart, his captive Dr. Antoine Hébert (a major figure in All Souls’ Rising), and involved “colonials” of various national and ethnic origins. Given the inevitable preponderance of somewhat redundant military operations, one admires—and appreciates—the ingenuity with which Bell varies the story’s content. The pervasiveness of miscegenation, for example, is seen to threaten marriages and reputations, while ruining innocent lives and, paradoxically, offering the stubbornly decent Hébert an unexpected chance at happiness. Powerful drama emerges in the complexities that bedevil the Arnaud sugar plantation (perhaps cursed by its mistress’s vicious murder of a pregnant slave); the wretched figure of half-breed Jean Michel Fortier, who betrays his heritage by becoming a slave-catcher; and the ingenuous “Moustique” (“mosquito”), a “baby priest” transfigured by his susceptibility to both the heavy rhythms of indigenous native religions and the insistent lure of the flesh. The tale climaxes memorably, with Toussaint triumphant, having destroyed or driven away his people’s tormentors—yet doomed to be overtaken by the well-known events that Bell dutifully provides for us in an appended Chronology of Historical Events and selected Original Letters and Documents.
A most impressive fusion of history and fiction, and easily the finest work of this still-young writer’s splendid career.Pub Date: Oct. 1, 2000
ISBN: 0-375-42056-8
Page Count: 752
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2000
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by Genki Kawamura ; translated by Eric Selland ‧ RELEASE DATE: March 12, 2019
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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